When Ella Hickson's debut work appeared at the end of the 21st century's first decade, her octet of monologues tapped into a similar emotional and spiritual void that had fascinated a new wave of playwrights a decade before.

A few years on and the student-based NewUpNorth-Scotland company's revival looks and sounds like a time capsule of a fragmented society, with each character taking pause for thought at what they've become.

Nowhere is this more evident than with Millie, the jolly-hockey-sticks hooker who tends to poetry-loving toffs put out to grass by the rise of New Labour. With David Cameron's Westminster Government posher than ever, one suspects the Millie of today would either be serving her constituency with renewed gusto or finding herself side-lined as her boys pack some Bullingdon-sired lead in their pencils elsewhere.

While many of the pieces look similarly of their time, others remain ageless. Council-estate skivvy Bobby is a familiar portrait of a woman failed by the state, while Astrid's salvation through illicit sexual liaisons and teenage boy abroad Jude's getting of wisdom are ageless.

While having all eight performers onstage gathered in a circle around a table implies a communal confessional, as the lights go up and down on each in Mark Stevenson's production, it lends an air of quiz show contestants awaiting their chance to shine. There are finely nuanced performances, particularly from Scarlett Mack as Bobby and Maria Teresa Creasey as Astrid in a compendium culled from observations of recent history that remains moving.